Religious Materiality and Emotion (CFP)

Source : ARC Centre of Excellence for the History of Emotions

Date: 17-18 February 2016, commencing with a public lecture on 16 February
Venue: Hosted by the Centre for the History of Emotions, The University of Adelaide at the Majestic Roof Garden Hotel, Adelaide City
Symposium organisers and enquiries: Dr Claire Walker, The University of Adelaide and Julie Hotchin, Australian National University.

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Key Speakers:

Professor Monique Scheer, University of Tübingen
Professor Miri Rubin, Queen Mary University of London
Charles Zika, The University of Melbourne.

Symposium

Abstract

Materiality plays a vital role in cultivating, shaping and directing religious emotions. Pilgrimage and public ritual, private devotional practices, the use of space and settings in which religious activities take place, and bodily posture and movement all arouse, shape and direct religious feelings. The recent critical interest in the role of material culture in religion has been paralleled by the attention in emotions studies to the exploration of affective relationships between beings and things, and the role of the material in eliciting emotional responses. Yet the interplay between materiality and emotions in religion has received less attention, especially within an historical context.

This symposium will integrate these strands of research by exploring the ways in which the material – such as objects, space, the body and sensory perception – stimulated, shaped and informed the emotional dimensions of religion.

Proposals

We invite abstracts for papers (20 minutes in length) that address the relationship between religion, materiality and emotion within a European context between 1200 and the present day. Papers that address the symposium theme from non-Christian traditions would be particularly welcome. Within the broader conference theme potential and welcome areas of inquiry may be, but are not limited to:

  • how religious imagery conveyed emotional messages and desired emotional dispositions
  • how objects, embodied practices and space were used to convey, amplify, transmit or diminish emotions within religious settings
  • the role of the material in generating religious identities and emotional communities
  • the dynamics between the material and emotions in encounters between adherents to different religions, religious conflicts or conversion
  • exploring relationships between particular objects or practices, and individual and collective religious emotions
  • how assumptions of gender inform interactions with religious objects and shape devotional practices and the emotions they arouse
  • the interplay between the material and emotions in power relations
  • the appropriation of religious imagery or objects by political regimes to mobilise and direct specific emotions
  • the role of the senses of cultivating religious feelings. Which senses were privileged and which diminished, and how did this affect the nature of emotional experience?
  • the emotions associated with the rejection of the material through renunciation or asceticism.

Abstracts of no more than 300 words, and a short biography, should be emailed to both Julie Hotchin, and Claire Walker by the deadline of the 31 October 2015. Questions or queries can also be addressed to the above.

Important

dates

Call for Papers: 31 October 2015
Notification of Acceptance: 15 November 2015

The symposium will start on the eve of Tuesday 16 February with a Public Lecture, and will run on Wednesday 17 and Thursday 18 February 2016.

Cost

information

A registration fee of AU$100 will include a conference pack, lunch, and morning and afternoon tea on 17 and 18 February. Postgraduate students will receive a discounted rate. There will also be a symposium dinner on 17 February. Details of the venue and cost of the dinner will be provided closer to the event.

Emotions: Movement, Cultural Contact and Exchange, 1100-1800 (CFP)

Source : ARC Centre of Excellence for the History of Emotions

Date: 30 June to 2 July 2016
Venue: Freie Universität Berlin

Speakers

Professor Lyndal Roper, Regius Professor of History University of Oxford

Professor Monique Scheer, Historical and Cultural Anthropology, University of Tübingen

Professor Laura M. Stevens, Department of English, University of Tulsa

Conference

Committee

  • Professor Daniela Hacke (Freie Universität Berlin)
  • Professor Claudia Jarzebowski (Freie Universität Berlin)
  • Professor Andrew Lynch (University of Western Australia)
  • Associate Professor Jacqueline Van Gent (University of Western Australia)
  • Professor Charles Zika (University of Melbourne)

Emotions: Movement, Cultural Contact and Exchange, 1100-1800 is an international conference jointly sponsored by the Freie Universität Berlin and the Australian Research Council Centre of Excellence for the History of Emotions, Europe 1100-1800, with the further involvement of scholars from The Max Planck Institute for Human Development, Berlin. It will draw on a broad range of disciplinary and cross-disciplinary expertise in addressing the history of emotions in relation to cross-cultural movement, exchange, contact and changing connections in the later medieval and early modern periods. The conference thus brings together two major areas in contemporary Humanities: the study of how emotions were understood, expressed and performed in pre-modern contexts, both by individuals and within larger groups and communities; and the study of pre-modern cultural movements, contacts, exchanges and understandings, within Europe and between non-Europeans and Europeans.

The period 1100-1800 saw a vast expansion of cultural movement through travel and exploration, migration, mercantile and missionary activity, and colonial ventures. On pilgrimage routes to slave routes, European culture was on the move and opened up to incomers, bringing people, goods and aesthetic objects from different backgrounds into close contact, often for the first time. Individuals and societies had unprecedented opportunities for new forms of cultural encounter and conflict. One major question for the conference to consider is finding the appropriate theory and methodology that will account for the place of emotions in this varied history.

Such cross-cultural encounters took place within a context of beliefs – popular, religious and scientific – that were propagated in literary, historiographical and visual sources, with a heritage reaching back to the classical period, and with a long religious tradition. One strand of the conference will deal with the changing literary and visual cultures that mediated European understandings of African, Mediterranean and Asian peoples, practices and environments, and which reveal the image of Europe and Europeans in other regions. Literary works (travel narratives, histories, epics and romances, hagiography), theatrical performances, visual artefacts and musical compositions were highly important in forming the emotional character of cross-cultural contacts, and the nature of literary, visual and performance culture. They responded to new cultural influences and created the emotional habits and practices through which cultural understandings were received and interpreted.

The conference will also explore the role emotions played in shaping early modern and late colonial encounters between indigenous peoples and Europeans. This might include the emotions embedded in missionary work and conversion, as viewed from both sides of these transactions, and in European settlements built on slavery. Evidence is provided by the accounts of participants, in the records of European and colonial government sponsoring and regulating their populations, in personal correspondence, and also in the associated visual and material record, including maps and ethnographic illustrations, propaganda and other responses by indigenous subjects.

Tracing emotional cultural movements also invites consideration of the variety of spaces – ships, villages, churches, courts, rituals and dreams – in which cultural movements and contacts occurred, and emotive responses to environmental features. This might also include the emotional responses of non-Europeans who found themselves in European environments.

More generally, the conference will consider the affective strategies of early modern Europeans in the acquisition, exchange and display of colonial objects. What emotional transformations did objects undergo in their passage across Europe and between European and other societies? What was the role of emotions in the formation of early ethnographic texts and collections, and in the museum culture of early modern Europe?

This last question leads to the issue of retrospective emotions, as observers in modernity look back on the long history of cross-cultural contact and write its course. How have their desires and emotional projections influenced understanding and reception?

Emotions: Movement, Cultural Contact and Exchange, 1100-1800 will extend over two-and-a-half days, including three plenary sessions by distinguished invited speakers, several Round Table discussion groups, and numerous panels consisting of three 20 minute papers plus discussion. One or more refereed publications of essays based on proceedings are expected.

Paper

proposals

For individual paper proposals, individuals should submit a paper title, abstract (c. 250 words), your name, brief biography (no more than 100 words), institutional affiliation and status and contact details. For panel proposals, the organiser of the panel should submit the same information for each of the three speakers, and the name of the person to chair the panel. Please send the proposals to Ms Francisca Hoyer (FU Berlin) and Ms Pam Bond (CHE) by 31 October, 2015.

Femininity and Laughter in Courtly Society (ca. 1150–1300)

978-3-8471-0119-2

Source : V&R unipress

Olga V. Trokhimenko

Constructing Virtue and Vice. Femininity and Laughter in Courtly Society (ca. 1150–1300)

2014
253 pages
ISBN 978-3-8471-0119-2
V&R unipress

Transatlantische Studien zu Mittelalter und Früher Neuzeit – Transatlantic Studies on Medieval and Early Modern Literature and Culture (TRAST) –

The study examines textual representations of women’s laughter and smiling and their imagined connection to female virtue in a wide variety of discourses and contexts of the German Middle Ages, including medieval epic, ecclesiastical texts, conduct literature, lyric, and sculpture. By engaging with the competing, and at times contradictory, views of female laughter, it reaffirms a disputatious nature of medieval culture, in which multiple views of femininity, sexuality, and virtue stood in a conflicting, yet productive, dialogue with one another. The society that emerges when one looks at medieval German texts is always ambivalent: it thrives on and enjoys talking about sensuality and eroticism, while being constrained by the conventions of polite behavior and the fear of sin; it relies on the ritual use of laughter, while marking it as a sign of lust and perdition. Women’s laughter thus offers an important way into understanding medieval views of gender because it combines physicality with shifting and conflicting cultural norms.

Compte-rendu de lecture paru dans The Medieval Review (août 2015) :

Trokhimenko, Olga V. <i>Constructing Virtue and Vice: Femininity and Laughter in Courtly Society (ca. 1150-1300)</i>. Transatlantische Studien zu Mittelalter und Früher Neuzeit, 5. Göttingen: Vandenhoeck & Ruprecht, 2014. Pp. 253. €39.99 (hb). ISBN: 9783847101192.

Reviewed by Adam Oberlin
Universitetet i Bergen/Atlanta International School
oberl024@umn.edu

Olga Trokhimenko’s study, as the title indicates, examines matters of gender construction, enforcement, and emotional expression from the perspectives of opposing societal forces and views toward behavior in medieval German courtly society. With a large bibliography and eighteen figures, the remaining text is relatively brief (196 pp. before the appendices, which include a table and images). Nevertheless five chapters present a thorough and wide-ranging survey of the social and gendered role of women’s laughter. Bodies, body parts, eroticism, and their regulation are discussed within simultaneously overlapping and contradictory medical, theological, literary, and visual discourses.

An introduction offers examples from the German tradition of court literature (Tristan, Parzival, Erec, etc.) in which feminine smiles and laughter herald abuse and vilification and serve as narrative turning points obvious to audiences. Trokhimenko, however, is careful to outline her subject both as a study of gesture and emotion (rather than textual representation only), and one that on the theoretical side counters a simplistic understanding of medieval emotion as unsophisticated and spontaneous via Elias and Huizinga. The linguistic polysemy of MHG <i>lachen</i> and its semantic field and the negative connotations carried over from Latin <i>risus</i> mirror for the author the conceptual ambiguity (but mostly negative aspects) surrounding the policing of women’s emotions, a thread that is woven throughout the chapters that follow.

The first chapter, “‘You Are No Longer a Virgin': The Two ‘Mouths’ of a Medieval Woman,” examines the genital symbolism of the female mouth and the sexual connotations of laughter and smiling within that milieu, from the MHG literary trope of the <i>roter munt</i> (red mouth) to premodern medical discourse, primarily relying on the work of Thomas Laqueur and Monica Green. Trokhimenko notes rightly that the sexual association of the two ‘mouths’ has been well studied from a number of perspectives, but she provides a compact survey, supported by contemporary evidence, of medieval German connections, punning swaps, and kissing as a logical immediate precursor to intercourse rather than an opening maneuver and symbol of sexual availability. The mouth-as-vagina image may appear in more or less nuanced guises (e.g., the courtly tradition versus the <i>Mären</i> and <i>fabliaux</i> genre) but is sufficiently widespread to anchor one side of the medieval attitude toward things women do with their mouths in a conceptual space easily understood from the unavoidable post-Freudian perspective we share in modernity.

The second chapter, “A Deeply Serious Matter: Laughter in Medieval Ecclesiastical Discourse,” begins with an unnecessary apology for stepping outside the author’s comfort zone in philological and literary study to examine the heterogeneous and diachronically unstable ecclesiastical opinions on laughter in a variety of texts. With Le Goff’s tripartite model of the stages of medieval laughter as suppression, controlled allowance, and unfettered allowance as a starting point, Trokhimenko complicates each stage with examples of beliefs held over from monastic discourses or other areas of medieval thought, though also surveying the periods with a similar two-part chronological analysis, i.e., from the Greeks and patristic writers to the high Middle Ages. Even in the early period, however, the rigidity of ideology yields to the exigency of lived experience and the monk who cannot control his laughter should therefore learn to control it. Likewise, the laughter of martyrs unsettles at the same time that it inspires. Conversely, the author demonstrates that the Church Fathers and others with repressive approaches enjoyed great popularity in the high medieval period (see the examples from <i>Von des todes gehugde</i> and <i>Die Nonnenregel</i>) and debates about their ideas found expression in literature also dealing with a seemingly increased permissiveness. Unsurprisingly the battle is fought mainly over the bodies of women, who were expected to perform virtue coded within the monastic milieu of corporeal mastery, despite what the author accurately identifies as a recognition of the Aristotelian idea that laughter is a natural human expression.

The third chapter, “‘Men Are Not of One Mind': Medieval Conduct Literature for Women,” opens with an episode in <i>Erec</i> where Enite and Erec are waylaid and Enite escapes the nefariously amorous intentions of their captor through the <i>schœnen list</i> of a smile, rather than the lengthy speech of Chrétien de Troyes’ French version. The sexual connotations and accompanying lack of virtue in this act, softened somewhat by Hartmann von Aue’s insistence on Enite’s cleverness, facilitate a discussion of conduct literature broadly, i.e., <i>Erziehung</i> in and through literature, which encompasses many more texts that conduct manuals alone, though the latter are also represented. The instructive texts <i>Der Winsbecke</i> and <i>Die Winsbeckin</i> of the thirteenth century allow for a gendered comparison: the former educates chiefly on activities and behaviors and the latter on the interior world of principles and emotions. <i>Der Welsche Gast</i> of Tomasin von Zerclaere addresses male laughter from the perspective of discernment and appropriate balance, while the passages on female laughter in <i>Die Winsbeckin</i> highlight control, physicality, and modesty. The chapter ends with a discussion of Ulrich von Liechtenstein’s <i>Frauenbuch</i> as–subversively in its apparent celebration of female agency–a conservative conduct lesson for women with an emphasis on obedience and silence. This text straddles both worlds that Trokhimenko wishes to illuminate while belonging firmly on the traditional side, a chartable ambiguity promised in the introduction and previous chapters.

The fourth chapter, “‘The Pleasure Never Told': Men’s Fantasies and Women’s Laughter in Love Lyric,” treats the previously theorized concepts within the genre of <i>Minnesang</i> from a diachronic perspective that moves beyond the typical <i>Minnesangs Frühling</i> corpus and into the wider lyric field, here mostly from Karl von Kraus’ <i>Liederdichter</i>. This welcome scope provides a view of the transition in male fantasies of women’s mouths from symbols of the unattainable lady and the poet’s secret longing where ambiguity reigns to a later, rather straightforward object of desire. Here the <i>roter munt</i> motif reaches saturation among the restricted set of features described in the lyric corpus. Within that narrow range the smile and laugh become symbolic of the male fantasy of reward and accessibility, as Trokhimenko argues; they are also gestures and linguistic expressions of gestures (kinegrams) that physically perform the fantasy in an often static setting.

The fifth and final chapter, “‘She is Beautiful and She is Laughing': Courtly Smiling in the Iconography of Virtue and Vice,” brings together the strands of theoretical writing and literary representation from the other chapters in an art historical examination of these themes in portal sculpture, namely of parable of the wise and foolish virgins (Mt 25:1-13). While the biblical story is sparse in detail, it grew in the commentary tradition to the point that its representation in statuary “juxtaposes not only watchfulness and carelessness, but also modesty and vanity, asceticism and worldliness, chastity and lack of moderation” (171), and clearly attempts to convey emotional expressions in the face. The foolish virgin smiles the welcome of courtly, worldly society, her virginal belt already at her feet and hand prepared to loosen her garment; in this context her smile or smirk conveys vice rather than jubilation, as may be found in sculpted angelic male countenances. Innovatively, the virgins of the <i>Magdeburger Dom</i> depict this very contrast of sexualized smiling versus jubilation in a way that Trokhimenko argues may be influenced by another native of Magdeburg not carved from stone, namely Mechthild and her book <i>Das fließende Licht der Gottheit</i>. There one does not need to extend the argument too far from the mystic conflation of worldly and spiritual joy as a means of expressing the ineffable and the expressions of the unique Magdeburg Cathedral virgins, even if it is difficult to draw a firm line from one to the other.

An epilogue summarizes the unstable foundation upon which the theorizing of smiling and laughter rested, and to a certain extent still rests, itself laid down over the natural human behaviors that are visible no matter how much they are suppressed: dynamics of power, sexuality, virtue, and courtly society are mirrored, distorted, mocked, and reinforced in the gesture or its linguistic expression. Following the epilogue are appendices containing a table of references to laughter in ‘medieval works’ in a timeline format from the early patristic authors of the third and fourth centuries to literature and iconography of the fifteenth century, as well as the eighteen figures of the wise and foolish virgins in portal sculpture discussed in chapter five. As an aid to reading, these figures would much better serve the reader if they were distributed at appropriate points throughout the text of the chapter, but they follow closely enough to make the necessary and frequent leafing only a minor irritation. The bibliography is extensive and split into several sections: primary sources and translations, lexica and reference works, and criticism and history, the last of which has three subdivisions (laughter and humor, medieval studies, and other). On the one hand, this structure complicates finding particular references in any particular section, but on the other, it makes consulting references on laughter and humor much simpler.

While <i>Constructing Virtue and Vice</i> may be situated generally within interdisciplinary studies of emotion, it is specifically concerned with the physicality of linguistic, iconographic, and gestural representations of emotion in a social context and within the gender dynamics of medieval courtly society. It is greater than the sum of its parts in that the individual chapters often cover topics that have been studied, sometimes extensively, from other perspectives, but not together and rarely from the texts of the German literary tradition that form Trokhimenko’s corpus. The author’s prose is readable and her argumentation clear, and the book would serve well in a course on medieval German literature and society or gender in history. Finally, it is refreshing to see a hardcover book offered at such an attractive price compared to the frightful heights of so many academic publishing houses.

Passions et pulsions à la cour (Moyen Âge – Temps Modernes)

ML68Source : SISMEL

Passions et pulsions à la cour (Moyen Âge – Temps Modernes)

Textes réunis par Bernard Andenmatten, Armand Jamme, Laurence Moulinier-Brogi et Marilyn Nicoud
PB pp. VI-374, € 54
Series Micrologus’ Library, 68
year 2015
isbn 978-88-8450-653-5
Availability available

A. Jamme – M. Nicoud, “Jamais leur passions n’y voit rien de Blâmable”. Passion, pulsions et violences en milieu curial une perspective. THÉÂTRE. A. Paravicini Bagliani, Boniface VIII, violence du verbe et emotivité – F. Collard, Politique des passions et anthropologie des pulsion à la cour du roi Charles VII – B. Andenmatten – E. Pibiri, Factions, violence et normalisation à la cour de Savoie (fin XIVe – milieu XVe siècle) – L. Roscioni, “Toute la cour eut horreur”: Christine de Suèdeet le meurtre de Gian Rinaldo Monaldeschi – B. Beys, Thomas Becket victime de la passion et de la violence dans l’Abregé des croniquesde Noël de Fribois. DISCIPLINE. X. Hélary, La reine, le légat, et le chambellan. Un “péché contre nature” à la cour de Philippe III – R. Chilà, Alphonse le Magnanime et la discipline des comportements curiaux à Naples – B. Müsegades, Comment discipliner un duc. Punir les jeunes princes dans l’Allemagne médiévale – D. Carrangeot, La “passion dynastique”: la preuve de virilité de Vincenzo Gonzaga à Venise (1584) – N. Le Roux, Mourir en barbares et gladiateurs. Violence et discipline sociale à la cour des derniers Valois. LANGAGES. L. Kendrick, Violences verbales à la cour. Eustache Deschamps, le Roi des Laids – G. Castelnuovo, La noblesse et son orgueil dans l’Italie urbaine (fin XIIIe – milieu XVIe siècle): discipliner une pulsion pour sauvegarder une identité – I. Lazzarini, L’âge des conjurations: violence, dynamiques politiques et ritualités sociales dans les cours de l’Italie du Nord à la fin du XVe siècle – P. Brioist, La gestion de la peur et de la fureur dans les traités d’escrime à la Renaissance. Indexes.

Passioni dell’anima

ML70_web

Source : SISMEL

Carla Casagrande, Silvana Vecchio

Passioni dell’anima. Teorie e usi degli affetti nella cultura medievale
PB pp. VI-438, € 62
Series Micrologus’ Library, 70
year 2015
isbn 978-88-8450-654-2
Availability available

Gioia, dolore, timore, speranza, ma anche amore, odio, desiderio, ira, vergogna sono temi ricorrenti nella cultura medievale, che nel corso dei secoli, in maniera più o meno sistematica, ha sviluppato un ampio discorso su ciò che ha variamente definito passioni, affetti, perturbazioni, moti dell’anima. I saggi raccolti nel volume illustrano alcuni tratti fondamentali di questo discorso, sottolineandone la specificità. La riflessione medievale sull’affettività si inserisce infatti all’interno di un paradigma segnatamente marcato dall’avvento del Cristianesimo: le passioni umane, legittimate dalla figura di Cristo, un Dio che si fa uomo assumendo dell’uomo anche la dimensione affettiva, e che salva l’uomo attraverso la sua stessa Passione, acquistano un senso e un valore del tutto estraneo alle tradizioni filosofiche antiche. Tale irriducibile “diversità” attraversa tanto l’elaborazione di veri e propri sistemi di passioni, costruiti sullo sfondo delle diverse concezioni dell’anima elaborate nel corso dei secoli, quanto l’inevitabile ricaduta etica di tali teorie e la discussione sullo statuto degli affetti in relazione ai vizi e alle virtù; ma soprattutto si manifesta in maniera trasparente in una vera e propria pedagogia degli affetti, che attraverso il buon uso delle passioni punta alla realizzazione del bene ultimo e della vera felicità dell’uomo.

Authority, Gender and Emotions in Late Medieval and Early Modern England

image-service.aspSource : Palgrave Macmillan

Authority, Gender and Emotions in Late Medieval and Early Modern England

Edited by Susan Broomhall

ISBN 9781137531155
Publication Date July 2015
Formats Hardcover Ebook (PDF) Ebook (EPUB)
Publisher Palgrave Macmillan
Series Genders and Sexualities in History

This collection explores how situations of authority, governance, and influence were practised through both gender ideologies and affective performances in medieval and early modern England. Authority is inherently relational – it must be asserted over someone who allows or is forced to accept this dominance. The capacity to exercise authority is therefore a social and cultural act, one that is shaped by social identities such as gender and by social practices that include emotions. The contributions in this volume, exploring case studies of women and men’s letter-writing, political and ecclesiastical governance, household rule, exercise of law and order, and creative agency, investigate how gender and emotions shaped the ways different individuals could assert or maintain authority, or indeed disrupt or provide alternatives to conventional practices of authority.

Introduction: Authority, Gender and Emotions in Late Medieval and Early Modern England; Susan Broomhall
1. From Letters to Loyalty: Aline la Despenser and the Meaning(s) of a Noblewoman’s Correspondence in Thirteenth-Century England; Kathleen Neal
2. The Role of Exempla in Educating through Emotion: The Deadly Sin of ‘Lecherye’ in Robert Mannyng’s Handlyng Synne (1303–1317); Anne M. Scott
3. How to be ‘Both': Bilingual and Gendered Emotions in Late Medieval English Balade Sequences; Stephanie Downes
4. St Richard Scrope, the Devout Widow, and the Feast of Corpus Christi: Exploring Emotions, Gender, and Governance in Early Fifteenth-Century York; P. J. P. Goldberg
5. Anxieties with Political and Social Order in Fifteenth-Century England; Merridee L. Bailey
6. Raising Girls and Boys: Fear, Awe and Dread in the Early Modern Household; Stephanie Tarbin
7. Authority in the French Church in Later Sixteenth-Century London; Susan Broomhall
8. ‘The Pattern of All Patience': Gender, Agency, and Emotions in Embroidery and Pattern Books in Early Modern England; Sarah Randles
9. A Subject for Love in The Merry Wives of Windsor; Diana Barnes
10. Emotions, Gender Expectations and the Social Role of Chancery, 1550–1650; Amanda L. Capern

Emotions and War

image-service.aspSource : Palgrave Macmillan

Emotions and War. Medieval to Romantic Literature

Edited by Stephanie Downes, Andrew Lynch, Katrina O’Loughlin

ISBN 9781137374073
Publication Date July 2015
Formats Ebook (PDF) Hardcover Ebook (EPUB)
Publisher Palgrave Macmillan
Series Palgrave Studies in the History of Emotions

Literature records, remembers, and recreates war and war’s emotions in many forms: whether narrated by an eye-witness, an observer at distance, or one who contemplates conflict in the past, war is remembered through a wide range of literary texts, from narrative poems to personal letters and tomb inscriptions. The essays collected here explore the emotions of war in texts from the Middle Ages to the era of Romanticism, and in forms ranging from medieval chivalric biography to war correspondence in The Times. Brought together in this way, they show the impact of actual war experience on the literary production of emotions in the medieval and early modern periods. They illustrate how emotional life itself was – and continues to be – conceived and structured as part of human identity during wartime, in culturally and historically specific ways. By rejecting modern assumptions about the emotions of conflict, Emotions and War reveals the multifarious and discontinuous nature of historical emotions and emotional histories of wars past.

 

 

Contents
1. Emotional Responses to Medieval Warfare in the History of William Marshal ; Lindsay Diggelman
2. ‘Blisse wes on londe': The feeling of peace in Laȝamon’s Brut; Andrew Lynch
3. ‘Je hé guerre, point ne la doy prisier': Peace and the Emotions of War in the Prison Poetry of Charles d’Orléans; Stephanie Downes
4. ‘He in salte teres dreynte': Understanding Troilus’s Tears; Simon Meecham-Jones
5. Human Prudence versus the Emotion of the Cosmos: War, Deliberation and Destruction in the late Medieval Statian Tradition; James Simpson
6. Moving to War: Rhetoric and Emotion in William Worcester’s Boke of Noblesse; Catherine Nall
7. ‘I was enforced to become an eyed witnes': Documenting War in Medieval and Early Modern Literature; Joanna Bellis
8. ‘Man is a battlefield within himself': Arms and the Affections in the Counsel of More, Erasmus, Vives and their Circle; Andrew Hiscock
9. Grief and Glory: The Commemoration of War in Seventeenth-Century England; Peter Sherlock
10. Remembering Civil War in Andrew Marvell’s ‘Upon Appleton House'; Diana Barnes
11. ‘Terrible Delight': Art, Violence and Power in Early Eighteenth-Century War Poems; Abigail Williams
12. ‘In Brazen Bonds': The Warring Landscapes of North Carolina, 1775; Katrina O’Loughlin
13. The Grievable Life of the War-Correspondent: The Experience of War in Henry Crabb Robinson’s Letters to The Times, 1808-09; Neil Ramsey
14. Afterword: Locating Emotions, Locating Wars; Mary Favret

Emotions between Greece and Rome

source : Institute of Classical Studies

Emotions for web Bulletin of the Institute of Classical Studies  SUPPLEMENT 125 published 1 May 2015:

EMOTIONS BETWEEN GREECE & ROME

EDITED BY DOUGLAS CAIRNS AND LAUREL FULKERSON

Emotion in the ancient Greek and Roman worlds is now an established field of research in classical studies, but so far scholars have made surprisingly few attempts to investigate the emotions of the two cultures in comparative terms.

In this innovative and timely collection, nine leading scholars make a start on that project. Topics include: differences between the Greek and Roman emotional repertoires; the semantic fields and scripts  covered by comparable Greek and Latin terms; the impact of bilingualism; the fate of emotion terms in translation; the way Roman authors deal with the emotional aspects of their Greek literary models; Greek and Roman views of the emotional character of their counterparts in the other culture.

BICS SUPPLEMENT-125     ISBN  978-1-905670-53-6  viii + 200 pp, indexes

Price £30 plus p&p

The Renaissance of emotion

Source : Manchester University Press

9780719090783img01The Renaissance of emotion. Understanding affect in Shakespeare and his contemporaries

Edited by Richard Meek and Erin Sullivan,

Manchester University Press, 2015.

This collection of essays offers a major reassessment of the meaning and significance of emotional experience in the work of Shakespeare and his contemporaries. Recent scholarship on early modern emotion has relied on a medical-historical approach, resulting in a picture of emotional experience that stresses the dominance of the material, humoral body. The Renaissance of emotion seeks to redress this balance by examining the ways in which early modern texts explore emotional experience from perspectives other than humoral medicine.

The chapters in the book seek to demonstrate how open, creative and agency-ridden the experience and interpretation of emotion could be. Taken individually, the chapters offer much-needed investigations into previously overlooked areas of emotional experience and signification; taken together, they offer a thorough re-evaluation of the cultural priorities and phenomenological principles that shaped the understanding of the emotive self in the early modern period. The Renaissance of emotion will be of particular interest to students and scholars of Shakespeare and Renaissance literature, the history of emotion, theatre and cultural history, and the history of ideas.

Introduction
Richard Meek and Erin Sullivan
Part I – The theology and philosophy of emotion
1: The passions of Thomas Wright: Renaissance emotion across body and soul – Erin Sullivan
2: ‘The scripture moveth us in sundry places’: framing biblical emotions in the Book of Common Prayer and the Homilies – David Bagchi
3: ‘This was a way to thrive’: Christian and Jewish eudaimonism in The Merchant of Venice – Sara Coodin
4: Robert Burton, perfect happiness and the visio dei – Mary Ann Lund
Part II – Shakespeare and the language of emotion
5: Spleen in Shakespeare’s comedies – Nigel Wood
6: ‘Rue even for ruth’: Richard II and the imitation of sympathy – Richard Meek
7: What’s happiness in Hamlet? – Richard Chamberlain
Part 3 – The performance of emotion
8: ‘They that tread in a maze’: movement as emotion in John Lyly – Andy Kesson
9: (S)wept from power: two versions of tyrannicide in Richard III – Ann Kaegi
10: The affective scripts of early modern execution and murder – Frederika Bain
11: Discrepant emotional awareness in Shakespeare – R. S. White and Ciara Rawnsley
Afterword – Peter Holbrook
Index

Brian Massumi, The Politics of Affect

Description

‘The capacity to affect and to be affected’. This simple definition opens a world of questions – by indicating an openness to the world. To affect and to be affected is to be in encounter, and to be in encounter is to have already ventured forth. Adventure: far from being enclosed in the interiority of a subject, affect concerns an immediate participation in the events of the world. It is about intensities of experience. What is politics made of, if not adventures of encounter? What are encounters, if not adventures of relation? The moment we begin to speak of affect, we are already venturing into the political dimension of relational encounter. This is the dimension of experience in-the-making. This is the level at which politics is emergent.

In these wide-ranging interviews, Brian Massumi explores this emergent politics of affect, weaving between philosophy, political theory and everyday life. The discussions wend their way ‘transversally': passing between the tired oppositions which too often encumber thought, such as subject/object, body/mind and nature/culture. New concepts are gradually introduced to remap the complexity of relation and encounter for a politics of emergence: ‘differential affective attunement’, ‘collective individuation’, ‘micropolitics’, ‘thinking-feeling’, ‘ontopower’, ‘immanent critique’. These concepts are not offered as definitive solutions. Rather, they are designed to move the inquiry still further, for an ongoing exploration of the political problems posed by affect.

Politics of Affect offers an accessible entry-point into the work of one of the defining figures of the last quarter century, as well as opening up new avenues for philosophical reflection and political engagement.

Understanding Emotions in Early Europe


Understanding Emotions in Early Europe

M. Champion, A. Lynch (eds.)
XXXIV+357 p., 156 x 234 mm, 2015
ISBN: 978-2-503-55264-4
Languages: English
HardbackHardback
The publication is in production.The publication is in production. (06/2015)
Retail price: EUR 90,00 excl. tax
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Drawing on the latest scholarship from international resarchers, this dedicated collection investigates how medieval and early modern Europeans understood and articulated emotions.

This book investigates how medieval and early modern Europeans constructed, understood, and articulated emotions. The essays trace concurrent lines of influence that shaped post-Classical understandings of emotions through overlapping philosophical, rhetorical, and theological discourses. They show the effects of developments in genre and literary, aesthetic, and cognitive theories on depictions of psychological and embodied emotion in literature. They map the deeply embedded emotive content inherent in rituals, formal documents, daily conversation, communal practice, and cultural memory. The contributors focus on the mediation and interpretation of pre-modern emotional experience in cultural structures and institutions — customs, laws, courts, religious foundations — as well as in philosophical, literary, and aesthetic traditions.

This volume thus represents a conspectus of contemporary interpretative strategies, displaying close connections between disciplinary and interdisciplinary critical practices drawn from historical studies, literature, anthropology and archaeology, philosophy and theology, cognitive science, psychology, religious studies, and gender studies. The essays stretch from classical and indigenous cultures to the contemporary West, embracing numerous national and linguistic groups. They illuminate the complex potential of medieval and early modern emotions in situ, analysing their involvement in subjects as diverse as philosophical theories, imaginative and scholarly writing, concepts of individual and communal identity, social and political practices, and the manifold business of everyday life.

Table of Contents

Understanding Emotions: ‘the things they left behind’ — MICHAEL CHAMPION and ANDREW LYNCH

I. Intellectual Traditions

From Regret to Remorse: The Origins of a Moral Emotion — DAVID KONSTAN

Representing Emotions in Three Byzantine Orations of Michael Psellos — MICHAEL CHAMPION

‘Tears such as angels weep’: The Evolution of Sadness in Demons — JUANITA FEROS RUYS

Emotional Strategies in the Early English Lyric — DANIEL ANLEZARK

II. Literature

‘What Passion cannot Musick raise and quell!’ The Pindaric Ode and the Musical Sublime in the History of Emotions — MIRANDA STANYON

Embodied Emotion, Conceptual Metaphor and the Aesthetics of Reading Old English Poetry — ANTONINA HARBUS

Guinevere as ‘Social Person’: Emotion and Community in Chrétien de Troyes — ANDREW LYNCH

Positive Emotion in the Thirteenth Century: The Emotional World of Goswin of Bossut — JENNIFER CARPENTER

Decoding the Emotions in Aphra Behn’s and Anna Maria Falconbridge’s Travel NarrativesMARGARETE RUBIK

III. Social History and Material Culture

Fear, Gender and Violence in Early Modern Ireland  — DIANNE HALL

Fear of Crime in Eighteenth-Century London — ROBERT SHOEMAKER

Reality and Ritual in the Medieval King’s Emotions of Ira and Clementia — PENELOPE NASH

Affective Bequests: Creating Emotion in York Wills, 1400–1600 — LISA LIDDY

‘Memento mori': Love/Fear of and for the Dead amongst Early Homo sapiens: Archaeological Approaches — SANDRA BOWDLER and JANE BALME

Notes on Contributors

Index

Historia de las emociones, dernier numéro de Vinculos de Historia

Consacré à l’histoire des émotions, ce numéro thématique de la revue d’Histoire de l’Universidad de Castilla-La ManchaUniversidad de Castilla-La Mancha (Tolède) est  désormais disponible ici , avec un article de ma plume.

Voici la table des matières :

Tabla de contenidos

PRESENTACIÓN DEL DOSSIER: Las emociones han vuelto
INTRODUCTION TO THE DOSSIER: Emotions came back
PDF
Rafael Villena Espinosa

Dossier Monográfico

La historia de las emociones, ¿de qué es historia?
What is the History of Emotions the History of?
PDF
Javier Moscoso
Ampliar el marco. Hacia una historia material de las emociones
Extending the framework. Towards a material History of the emotions
PDF
Juan Manuel Zaragoza Bernal
Arqueología de las emociones
An archaeology of emotions
PDF
Ángel Rivera Arrizabalaga
“Miserantes eorum crudelius saeviebamus”: la “compasión” de los magistrados romanos ante el martirio cristiano
Miserantes eorum crudelius saeviebamus: The “Compassion” of Roman Judges before Christian Martyrdom
PDF
Raúl González Salinero
Las emociones medievales: el amor, el miedo y la muerte
Medieval emotions: love, fear and death
PDF
María Luisa Bueno Domínguez
L’historien de l’émotion de l’autre côté du miroir? Expérience affective dans la vita de Lukarde d’Oberweimar
The historian of emotions through the looking glass? Affective experience in the vita of Lukardis of Oberweimar
PDF
Piroska Nagy
“Dolor de corazón”. Contrición, literatura espiritual y la formación de una sensibilidad religiosa postridentina
“Dolor de corazón”. Contrition, spiritual literature and the formation of a post-Tridentine religious sensibility
PDF
J. Carlos Vizuete Mendoza
Los Hombres de Wellington: “Amigos en el Averno”. La amistad, conjunto emocional de supervivencia entre las tropas británicas
Wellington´s Men: “Friends in the Avernus”. Friendship, emotional set for survival among the British troops.
PDF
José Gregorio Cayuela Fernández
Cartas y cuentos desde las cárceles de Franco
Letters and stories from Franco’s prisons
PDF
Julián López García, Alfonso M. Villalta Luna
Vínculos de Historia es una publicación anual electrónica, cuyo objetivo es el de ofrecer un foro de estudios planteados desde la transversalidad en el tiempo. Con ello se pretende contribuir a diseñar análisis históricos con perspectivas que trasciendan los compartimentos estancos por épocas, y que proporcionen una visión más completa y, por tanto, más compleja de la evolución de los procesos sociales.
 
Arrancó en 2012 con la aspiración de una calidad historiográfica creciente y con el empeño de cumplir los criterios de calidad exigidos por los índices y catálogos de referencia académicos más relevantes. Actualmente, los contenidos de Vínculos de historia están indexados en el directorio y en el catálogo de Latindex; la revista cumple el máximo de calidad requerido, esto es, la totalidad de los 36 criterios establecidos. Además, está indexada en la base de datos del ISOC, en DOAJ (Directory of Open Acces Journal), en Dialnet, en MIAR, en el directorio e-Revistas del CSIC y en RUIdeRA.
 
La revista publica artículos de investigación. Consta de tres secciones: un dossier monográfico, encargado por el equipo editorial a destacados historiadores españoles y extranjeros, que en el número 5 se centrará en Bandolerismo y violencia en bandas en la historia; otra parte de carácter misceláneo, que admite envíos abiertos; y la última dedicada a recensiones y notas críticas de libros, que también contempla los envíos abiertos (el consejo de redacción seleccionará entre las reseñas recibidas las que se vayan a  publicar según el interés, la calidad y la actualidad historiográfica de la obra reseñada). Puede consultarse aquí. http://vinculosdehistoria.com/index.php/vinculos
Invitamos a los especialistas de cualquier periodo y materia históricos a participar en la revista mediante el envío de artículos para la miscelánea y las reseñas del número 5, previsto para ser publicado en junio de 2016, y pedimos la difusión de la publicación en la comunidad científica. Se acepta la recepción de trabajos en español, inglés, francés, italiano y portugués. La recepción de originales permanece abierta durante todo el año. Los trabajos pueden enviarse a la dirección electrónica info@vinculosdehistoria.com.
Los textos tendrán que seguir las normas que constan en http://vinculosdehistoria.com/index.php/vinculos/about/submissions#authorGuidelines

 

Emotion and Medieval Media

source : Blog de Mary C. Flannery

Emotion and Medieval Media

19-20 June 2015, University of Lausanne, Switzerland

 

Emotion is culture[.]

Benedicte Grima

 

Emotions—whether past or present—are notoriously difficult to describe, define, and articulate. Yet the study of emotion has risen to worldwide prominence in recent years, and medievalists have been quick to incorporate the history of emotions into their research. ‘Emotion and Medieval Media’ (EMMe) aims to respond to these recent developments.

EMMe brings together medievalists working in a variety of disciplines in order to explore how different media shaped the experience and practice of emotion in the Middle Ages. It focuses on the cultural artefacts of the past–its literature, art, music, and architecture–in order to investigate the emotions of the past. Our two key aims will be: (1) to consider how medieval theories of emotion and cognition inform the creation and reception of different medieval media; and (2) to consider how attention to different media forms can inform the study of medieval emotion. Among the questions that will frame the workshop are the following:

– In what ways do different medieval media seek to engage with emotion via the senses? What differences and continuities may be uncovered in the ways that various medieval media work upon human emotion?

– How do medieval cultural artefacts reflect (or attempt to put into practice) medieval theories concerning the relationship between cognition and emotion?

– Does each medium engage with emotion in a unique and consistent way, or can we detect a variety of approaches within each medium?  Is there any overlap in the ways that different medieval media aim to stimulate emotion? Do the golden borders of illuminated manuscripts do the same kind of emotional work as the soaring spires of Gothic cathedrals?

– Some works, such as John Lydgate’s Danse macabre, were not only translated from one language into another (French into English), but from one medium into another (from a series of murals in a Paris chapel to a short English poem). How does remediation (the movement of a particular narrative or work of art between media) affect the representation or stimulation of emotion?

– To what extent does attention to such factors as medium, form, and genre shift our perspective regarding the theorization and/or experience of medieval emotions?

This project intervenes in the fields of medieval studies and the history of emotions by adopting a new perspective on the relationship between emotion and media in medieval culture. Only by turning our attention to how different media cultivate, represent, and exploit emotion can we fully understand the emotional life of the Middle Ages.

 

 

Friday 19 June 2015

All sessions apart from performances will take place in Anthropole 3032.

 

9.00am   Welcome & introductions (Mary C. Flannery, University of Lausanne)

 

9.30am    Session 1: Research Presentations (Chair: Camille Marshall, University of Lausanne)

‘Moved by Music: Problems in Approaching Emotional Expression in Gregorian Chant’ (Daniel J. DiCenso, College of the Holy Cross)

‘The Unsteady Ground of Friendship: A Case Study from the Stanzaic Morte Arthur‘ (Amy Brown, University of Geneva)

‘Romance Fluidity, Emotional Interpolations, and Blurring the Christian-Saracen Divide’ (Marcel Elias, University of Cambridge)

 

11.00am   Coffee break

 

11.30am   Session 2: Guided Analyses (Chair: Diana Denissen, University of Lausanne)

‘Passionate Skepticism: A Guided Reading of the Northampton Abraham Play’ (Charlotte Steenbrugge, University of Toronto/University of Glasgow)

‘A Feeling for Ivory’ (Catherine Yvard, The Courtauld Institute of Art)

 

1.00pm    Lunch

 

2.30pm    Session 3: Musical Performance in La Ferme (Chair: Mary C. Flannery)

‘A Pilgrimage Through Time and Emotion: A Concert of Medieval Vocal Music’ (Shauna Beesley, Rachael Beesley, Minna Harlan)

 

3.30pm    Coffee break

 

4.00pm    Session 4: Roundtable Discussion (Chair: Marleen Cré)

‘Swelling in Anger: Somatic Descriptors in Old English and Old Norse Literature’ (Sarah Baccianti, University of Lausanne)

‘Emotion in Medieval Literature: A Corpus-Linguistic Approach’ (Anita Auer, University of Lausanne)

‘Sweetness and the Power of Affectivity in Some Anglo-Norman and Middle English Lyrics’ (Denis Renevey, University of Lausanne)

‘Emotion and Late Medieval Drama’ (Tamara Haddad, University of Kent)

 

7.00pm    Dinner at the Restaurant du Théâtre

 

Saturday 20 June 2015

 

9.30am    Session 1: Research Presentations (Chair: Mary C. Flannery)

‘The Shoes of Heavenly Desires: Why the Affect Needs Shoes in Late Medieval Devotional Literature’ (Sarah Brazil, University of Geneva)

‘”But seeþ now what ioie comeþ”: Emotions in the Manuscripts of The Chastising of God’s Children’ (Marleen Cré, University of Lausanne)

‘The Writing of Emotions in Chaucer’s Book of the Duchess: Medical Discourse and Performance’ (Lucie Kaempfer, University of Lausanne)

 

11.00am   Coffee break

 

11.30am   Session 2: Guided Analyses (Chair: Sarah Baccianti)

‘Stitching, Embodying, Seeing Emotion: An Encounter with the Syon Cope (1300-1320)’ (Michaela Zöschg, Victoria & Albert Museum/The Courtauld Institute of Art)

‘Pain, Pleasure, and Performance: Public and Private Emotional Display before Christ Portrayed’ (Camille Marshall & Diana Denissen)

 

1.00pm    Lunch

 

2.30pm    Session 3: Theatrical Performance in La Ferme

‘Mixed Messages and Multimedia: Moving the Audience Through Medieval Drama’

Elisabeth Dutton (University of Fribourg) & Tamara Haddad (University of Kent)

 

3.30pm    Coffee break

 

4.00pm    Session 4: Concluding Keynote (Chair: Denis Renevey)

‘Response to the Workshop: Disciplines, Form, and Writing the History of Emotions’

Rita Copeland (University of Pennsylvania)

 

7.00pm    Dinner at the Restaurant du Port du Pully